Within the last twenty-five years, an enormous burst of creative production has emerged from independent filmmakers. From Stranger than Paradise (1984) and Slacker (1991) to Gus Van Sant's Elephant (2003) and Miranda July's Me and You and Everyone We Know (2005), indie cinema has become part of mainstream culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities that set them off from ordinary Hollywood entertainment?
In this groundbreaking new study, J.J. Murphy argues that the independent feature film from the 1980s to the present has developed a distinct approach of its own, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for their idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema.
Me and You and Memento and Fargo also presents a unique vision for the aspiring screenwriter. Most screenwriting manuals and guidebooks on the market rely on formulas believed to generate saleable Hollywood films. Many writers present a 'three-act paradigm' as gospel and proceed to lay down very stringent rules for characterization, plotting, timing of climaxes, and so on, while others who appear to be more open about such rules turn out to be just as inflexible in their advice. Through in-depth critical analyses of some of the most significant independent films of recent years, J.J. Murphy emphasizes the crucial role that novelty can play in the screenwriting process.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
J. J. Murphy is Professor of Film Production and Film Studies at the University of Wisconsin-Madison, USA. He has been an independent filmmaker for nearly thirty-five years; his films have played at major international film festivals (New York, Edinburgh, Berlin, Florence, South Korea, Wellington, and Auckland) and have been screened at the Museum of Modern Art, the Whitney Museum of American Art, the Austrian Film Museum (Vienna), the Barbican Film Centre (London) and the Centre Georges Pompidou (Paris). He has taught film production and screenwriting for nearly thirty years.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : World of Books (was SecondSale), Montgomery, IL, Etats-Unis
Paperback. Etat : Good. Within the last twenty-five years, an enormous burst of creative production has emerged from American "independent" filmmakers. From "Stranger than Paradise" (1984) and "Slacker" (1991) to Gus Van Sant's "Elephant" (2003) and Miranda July's "Me and You and Everyone We Know" (2005), indie cinema has become part of mainstream American culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities which set them apart from ordinary Hollywood entertainment? "Me and You and Memento and Fargo" argues that the American independent feature film from the 1980s to the present has developed a distinct approach to filmmaking, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. There are many screenwriting manuals and guidebooks on the market, but they pose many problems for the aspiring independent filmmaker. First, they all rely on formulas believed to generate salable Hollywood films. For instance, most writers, including Syd Field ("Screenplay"), Richard Walter ("Screenwriting"), and Linda Seger ("Making a Good Script Great"), present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, the timing of climaxes and so on. Some writers, notably Field and Seger, even go so far as to demand that the screenwriter present a dramatic turning point within specific pages. Even advice books that appear to be more open about such rules (e.g. Robert McKee's "Story") turn out to be just as inflexible in their advice. But the screenwriting manuals tend to ignore the fact that Hollywood companies do not want only the formula; they also want novelty (which is hard to teach as a set of rules). The independent filmmaker is usually aware of the rules but treats them as flexible guidelines, to be used as necessary but also to be rejected or reworked if it will be of creative benefit. The screenplay manuals have a second fault. On the rare occasions when they deal with independent films, they tend not to appreciate the genuine innovations that the films introduce. This is partly due to the fact that the manuals' authors are unaware of the historical tradition of independent cinema. Thus, McKee treats "Stranger than Paradise" as an "anti-plot" film. This category, however, cannot adequately analyse what the film does positively; it does not lack a plot, but rather has a different kind of plot. Ironically, it has a three-act structure, but the structure becomes geographical rather than plotted as a dramatic arc. Moreover, "Stranger than Paradise" derives its approach to storytelling from 1970s minimalist cinema, punk subculture, and the Beat tradition of "Shadows" and "Pull My Daisy". The fullest understanding of the independent film's innovations comes from an awareness of the historical tradition it continues. "Me and You and Memento and Fargo" offers a positive account of the various options open to the independent screenwriter. The book shows the broad range of creative principles that have been used in the narrative construction of independent films. One consequence of this is to show the uniqueness of this phenomenon by positioning it as a hybrid form that exists somewhere between the classical Hollywood tradition and "art cinema.". N° de réf. du vendeur 00106803695
Quantité disponible : 1 disponible(s)
Vendeur : BooksRun, Philadelphia, PA, Etats-Unis
Paperback. Etat : Fair. unknown. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way. Ex-Library. N° de réf. du vendeur 0826428053-7-1-12
Quantité disponible : 1 disponible(s)
Vendeur : Evergreen Goodwill, Seattle, WA, Etats-Unis
paperback. Etat : Good. N° de réf. du vendeur mon0000582534
Quantité disponible : 1 disponible(s)
Vendeur : World of Books Inc, Montgomery, IL, Etats-Unis
Paperback. Etat : Good. Within the last twenty-five years, an enormous burst of creative production has emerged from American "independent" filmmakers. From "Stranger than Paradise" (1984) and "Slacker" (1991) to Gus Van Sant's "Elephant" (2003) and Miranda July's "Me and You and Everyone We Know" (2005), indie cinema has become part of mainstream American culture. But what makes these films independent? Is it simply a matter of budget and production values? Or are there aesthetic qualities which set them apart from ordinary Hollywood entertainment? "Me and You and Memento and Fargo" argues that the American independent feature film from the 1980s to the present has developed a distinct approach to filmmaking, centering on new and different conceptions of cinematic storytelling. The film script is the heart of the creative originality to be found in the independent movement. Even directors noted for idiosyncratic visual style or the handling of performers typically originate their material and write their own scripts. By studying the principles underlying the independent screenplay, we gain a direct sense of the originality of this new trend in American cinema. There are many screenwriting manuals and guidebooks on the market, but they pose many problems for the aspiring independent filmmaker. First, they all rely on formulas believed to generate salable Hollywood films. For instance, most writers, including Syd Field ("Screenplay"), Richard Walter ("Screenwriting"), and Linda Seger ("Making a Good Script Great"), present a "three-act paradigm" as gospel and proceed to lay down very stringent rules for characterization, plotting, the timing of climaxes and so on. Some writers, notably Field and Seger, even go so far as to demand that the screenwriter present a dramatic turning point within specific pages. Even advice books that appear to be more open about such rules (e.g. Robert McKee's "Story") turn out to be just as inflexible in their advice. But the screenwriting manuals tend to ignore the fact that Hollywood companies do not want only the formula; they also want novelty (which is hard to teach as a set of rules). The independent filmmaker is usually aware of the rules but treats them as flexible guidelines, to be used as necessary but also to be rejected or reworked if it will be of creative benefit. The screenplay manuals have a second fault. On the rare occasions when they deal with independent films, they tend not to appreciate the genuine innovations that the films introduce. This is partly due to the fact that the manuals' authors are unaware of the historical tradition of independent cinema. Thus, McKee treats "Stranger than Paradise" as an "anti-plot" film. This category, however, cannot adequately analyse what the film does positively; it does not lack a plot, but rather has a different kind of plot. Ironically, it has a three-act structure, but the structure becomes geographical rather than plotted as a dramatic arc. Moreover, "Stranger than Paradise" derives its approach to storytelling from 1970s minimalist cinema, punk subculture, and the Beat tradition of "Shadows" and "Pull My Daisy". The fullest understanding of the independent film's innovations comes from an awareness of the historical tradition it continues. "Me and You and Memento and Fargo" offers a positive account of the various options open to the independent screenwriter. The book shows the broad range of creative principles that have been used in the narrative construction of independent films. One consequence of this is to show the uniqueness of this phenomenon by positioning it as a hybrid form that exists somewhere between the classical Hollywood tradition and "art cinema.". N° de réf. du vendeur CIN0826428053G
Quantité disponible : 1 disponible(s)
Vendeur : Better World Books, Mishawaka, IN, Etats-Unis
Etat : Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. N° de réf. du vendeur 16000837-6
Quantité disponible : 1 disponible(s)
Vendeur : Better World Books: West, Reno, NV, Etats-Unis
Etat : Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. N° de réf. du vendeur 16000837-6
Quantité disponible : 1 disponible(s)
Vendeur : Better World Books: West, Reno, NV, Etats-Unis
Etat : Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. N° de réf. du vendeur 17659689-20
Quantité disponible : 1 disponible(s)
Vendeur : ThriftBooks-Atlanta, AUSTELL, GA, Etats-Unis
Paperback. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less. N° de réf. du vendeur G0826428053I3N00
Quantité disponible : 1 disponible(s)
Vendeur : Bahamut Media, Reading, Royaume-Uni
Paperback. Etat : Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee. N° de réf. du vendeur 6545-9780826428059
Quantité disponible : 1 disponible(s)
Vendeur : WorldofBooks, Goring-By-Sea, WS, Royaume-Uni
Paperback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged. N° de réf. du vendeur GOR002157502
Quantité disponible : 3 disponible(s)